The skeleton of these dance films is now not so insane that it can be copied very well and adapted to other countries and events.
So why not try a German remake or reboot? Because if the German copies something, does he do it THOROUGHLY and just, well, 15 years too late?
The introduction sounds a little more sarcastic than this text would ultimately like to be.
We are only faced with a fundamental problem of film criticism: How do you review an obvious children’s film (INTO THE BEAT is part of the project DER BESONDERE KINDERFILM) as a twenty-one year old literature science student?
Above all, a children’s film, which is obviously more aimed at the target group eight to twelve. Do you approach him in this disgusting deconstructivist, all laughing way?
Because heartless people choose this approach in Stefan Westerwell’s film and could be quite successful with it.
Instead, are you trying to somehow imagine yourself in the mind of a small child? Nah, that is also not very expedient. Ideally, of course, you have a target group child with you. The reader realizes that it will be difficult.
Katya (Alexandra Pfeifer) trains for auditions at the New York Ballet Academy and has a good chance of a place at university and a scholarship.
Logically, the talent lies in the family, father Victor (Trystan Pütter) is after all the great ballet star in Hamburg.
But one evening Katya discovered the magical “Battleland” in the enchanted Wilhelmsburg, a space for street and urban dancers.
It happened to Katya. This, in the truest sense of the word, “dirty dancing” has nothing to do with the rigid-strict ballet. A new passion is sparked in her. The sweet Marlon (Yalany Marschner) is of course not completely innocent.